IEC
GREAT CINEMATOGRAPHERS
#3: B. Glennon - James Wong Howe [2nd cam] - Cy Clegg [asst dir] - "Burning Sands" [1922]
BERT GLENNON
Born: 19 November 1893, Anaconda, Montana, USA, as Herbert Lawrence Glennon.
Died: 29 June 1967, Sherman Oaks, Calif., USA.
Education: Stanford University.
Career: While attending university in 1912, he was hired as a c.asst, and upon graduation went into the film business full-time. Worked for the Keystone Film Company, the Famous Players Film Company and the William H. Clune Film Corporation [as laboratory superintendent]. In 1920, he went to Australia to work for Snowy Baker Productions. In 1928, he embarked on a career as director, but the few films he directed from 1928 to 1932 were increasingly mediocre. He resumed his cinematography career. Retired in 1963.
Was a member of the ASC since 1924.
His son James [1942-2006] was a doph.
Appeared in 'The March of Time Volume IX, Issue 10: Show Business at War' [1943].
Awards: 'Oscar' AA nom [1939; color; shared] for 'Drums Along the Mohawk'; 'Oscar' AA nom [1939; b&w] for 'Stagecoach'; 'Oscar' AA nom [1941; color] for 'Dive Bomber'.
GO TO FILMS
'The camera is the pen of our craft,' stated Josef von Sternberg. Though Bert Glennon is, typically, not mentioned in his autobiography, and though Lucien Ballard has cast some doubt on the validity of the official photography credits on the Sternberg films, I still choose to believe that Glennon was his most talented scribe. And even if you exclude 'Underworld', 'The Last Command' and 'Blonde Venus' from his list, it remains mightily impressive. In February 1930, at a time when he was engaged in his ultimately abortive directorial interlude, Glennon quoted the following as part of his cinematographical philosophy: 'I remember telling a friend of mine who asked for a formula by which to test cameramen - if a man comes to you and you don't know how good he is, have him make you a test shot of two people, cutting them off at the knees. Almost any good cameraman can make an attractive long shot or close-up, but it takes a real artist to make a beautiful two-shot.' The same article [in American Cinematographer] goes on to criticize the excessive lighting ['Most modern sets are grossly overlit.'] prevalent at the time, making it clear that Glennon was one of those artists for whom less is more. [Markku Salmi in 'Film Dope', No. 19, December 1979.]
Bert Glennon was a visual stylist whose cinematography enhanced the best work of such disparate directors as John Ford and Josef von Sternberg. Glennon exemplifies the professional Hollywood craftsperson overshadowed by volatile, individualistic directors, his name rarely mentioned in film histories.
There were two Glennon styles - the glossy soft-focus of his 1920s Paramounts, and the dramatic, often minimalist, realism he employed at 20th Century-Fox in the late 1930s and at Warners ten years later. Along with Victor Milner, Glennon helped define the corporate Paramount look, with assignments for such directors as Cecil B. DeMille, Malcolm St. Clair, Rowland V. Lee, and Mauritz Stiller.
Glennon's two great silent triumphs were 'The Ten Commandments' and 'Underworld'. The DeMille epic was the most spectacular production up to that time. The contemporary story is well handled, but the film is most satisfying in the Biblical sequences, many shot in reverential tableaux, with sweeping camera movements on the action scenes. A prologue of the Israelites fleeing Egypt was co-photographed in two-strip Technicolor with Ray Rennahan.
'Underworld' foreshadowed many later crime films, uniting elements of that genre which would become commonplace, including Glennon's chiaroscuro photography. There are many fine photographic touches - the underworld ball, the police car chase - rendered in a crisp, economic manner. 'Underworld' was a much more starkly lit work than was common at Paramount, but in his next film for von Sternberg, 'The Last Command', Glennon reverted to the softer studio style. His mobile camera makes both 'Underworld' and 'The Last Command' among the most visually pleasing films of the late silent era.
Glennon directed nine programmers between 1928 and 1931. He returned to cinematography in 1932 with von Sternberg's 'Blonde Venus', shooting interiors [Paul Ivano handled the exteriors]. Among the scenes Glennon worked on is the "Hot Voodoo" number, with icon Marlene Dietrich emerging from a gorilla suit.
Glennon reunited with von Sternberg on 'The Scarlet Empress', which cast Dietrich as Russia's Catherine the Great. Glennon achieved an extraordinary Baroque look, with dazzling camera movement complemented by von Sternberg's eccentric mise en scène and lavish art direction by Hans Dreier. Truly one of the most photographically stunning works in American cinema, 'The Scarlet Empress' was a Glennon masterwork, culminating his contributions to the von Sternberg canon. Typically, the director made no mention of Bert Glennon in his autobiography.
Glennon moved to Fox in 1934, and inexplicably toiled on B-movies. His fortunes improved when Darryl Zanuck merged his 20th Century Pictures with the failing Fox and assigned him to shoot 'The Prisoner of Shark Island' [1935], the first of eight John Ford films shot by Glennon. The story of Dr. Samuel Mudd, the man who treated John Wilkes Booth's wound after the Lincoln assassination and found himself incarcerated as an unwitting accomplice, the film reveals Ford's passion for the era, nicely realized by Glennon. The Shark Island prison sequences are dark and gloomy, contrasted with the juleps-and-magnolia South symbolized by Mudd's family. Like much of Ford's best work, there is a silent film-feel to the cinematography.
Glennon's position as a master cinematographer was confirmed with the 1938-39 Ford films. 'Stagecoach' deserves its reputation as one of the great westerns. Picturesque Monument Valley vistas and expert action sequences were expertly captured by Glennon, making 'Stagecoach' one of the best looking black-and-white movies ever made. In a direct stylistic contrast to the von Sternberg films, there is little camera movement, and rare use of close-ups, the notable exception being the Indians on the bluff in a pre-attack sequence.
Smaller in scope, 'Young Mr. Lincoln' impeccably recreated Indiana and Illinois of the 1830s and 1840s. While an uncredited Arthur C. Miller shot the riverside locations, Glennon was responsible for the bulk of the film's classical look, with the fight in the clearing particularly well rendered. 'Drums Along the Mohawk' was a much more difficult film. Forced by Zanuck's release schedule to rush from 'Young Mr. Lincoln' to 'Drums Along the Mohawk', the filmmakers were plagued by minimal preparation, an unpolished script, and a rugged location in Utah's Wasatch Mountains. Summer storms played havoc with matching shots, and to compound problems, the film was shot in three-strip Technicolor, Ford's first in color. Despite these rigors, 'Drums Along the Mohawk' is exquisitely photographed, as perfect an exercise in color as 'Stagecoach' was for black-and-white.
It was ten years before Glennon worked with Ford again, but the occasion and the project was a special one - 'Wagon Master'. Ford told Peter Bogdanovich that 'Wagon Master' was one of the films that "came closest to being what I had wanted to achieve." A western masterwork, the film is graced by Glennon's newsreel quality cinematography.
Glennon did superlative work for another strong director, Raoul Walsh, on 'They Died with Their Boots On', in which he photographed a spectacular recreation of Custer's Last Stand; and 'Desperate Journey', a slam-bang Second World War adventure highlighted by an exhilarating car chase. Glennon closed his career at Warners with some of the best 3-D photography ['House of Wax', 'The Moonlighter', 'The Mad Magician']. [From article by John A. Gallagher on the Film Reference website.]
| FILMS [1 reel = c. 10m] | |
|---|---|
|
1915 |
Stingaree [James W. Horne] b&w; 12-part serial; prod Kalem Company |
|
1916 |
Ramona [Donald Crisp] b&w; 10-14 reels; cph: Enrico (Enrique) Vallejo; prod Clune Film Producing Company |
|
1916 |
The Eyes of the World [Donald Crisp] b&w; 7-10 reels; cph: Enrico (Enrique) Vallejo; prod Clune Film Producing Company |
|
1919 |
Lightning Bryce [Paul C. Hurst] b&w; 15-part serial; prod National Film Corporation of America (NFCA) |
|
1920 |
The Heart of Sonya [?] b&w; prod ? |
|
1920 |
Parted Curtains [Bertram Bracken & James C. Bradford] b&w; 6 reels; or ph Walter L. Griffin; prod NFCA |
|
1920 |
The Kentucky Colonel [William A. Seiter] b&w; 6 reels; cph: Allen M. Davey; prod NFCA |
|
1920 |
The Society Bug [Ward Hayes] b&w; 2 reels; prod NFCA |
|
1920 |
The Torrent [Stuart Paton] b&w; 5 reels; cph: Roland Price; prod Universal Film Manufacturing Company (UFMC) |
|
1921 |
The Dangerous Moment [Marcel De Sano] b&w; 5 reels; prod UFMC |
|
1921 |
Cheated Love [King Baggot] b&w; 5 reels; prod UFMC |
|
1921 |
The Kiss/Little Erolinda [Jack Conway] b&w; 5 reels; prod UFMC |
|
1921 |
A Daughter of the Law [Jack Conway] b&w; 5 reels; prod UFMC |
|
1921 |
Moonlight Follies/The Butterfly [King Baggot] b&w; 5 reels; prod UFMC |
|
1921 |
Nobody's Fool [King Baggot] b&w; 5 reels; prod UFMC |
|
1922 |
Moran of the Lady Letty [George Melford] b&w; 7 reels & 68m (2006 alternate version with a mus score); co-2nd cam; ph: William Marshall; prod Famous Players-Lasky Corporation (FPLC) |
|
1922 |
The Woman Who Walked Alone [George Melford] b&w; 6 reels; prod FPLC |
|
1922 |
Burning Sands/The Dweller in the Desert [George Melford] b&w; 7 reels; 2nd cam: James Wong Howe; prod FPLC |
|
1922 |
Ebb Tide [George Melford] b&w; 8 reels; 2nd cam: James Wong Howe (took over 1st cam for a few days while B. Glennon was ill); prod FPLC |
|
1922 |
Java Head [George Melford] b&w; 8 reels; prod FPLC |
|
1923 |
You Can't Fool Your Wife [George Melford] b&w; 6 reels; prod FPLC |
|
1923 |
Salomy Jane/The Law of the Sierras [George Melford] sometimes cred as ph, but prod was ph by Charles G. Clarke |
|
1923 |
The Ten Commandments [Cecil B. DeMille] b&w + color seq (the Exodus); 14 reels; cph: Ray Rennahan (color seq), J. Peverell Marley, Archie Stout, J.F. 'Fred' Westerberg, Edward S. Curtis & Donald Biddle Keyes; visual efx & tech dir: Roy Pomeroy; filmed May-August; prod FPLC |
|
1924 |
Triumph [Cecil B. DeMille] b&w; 8 reels; prod FPLC |
|
1924 |
Changing Husbands [Frank Urson & Paul Iribe] b&w; 7 reels; prod FPLC |
|
1924 |
Open All Night/One Parisian "Knight" [Paul Bern] b&w; 6 reels; prod FPLC |
|
1924 |
Worldly Goods [Paul Bern] b&w; 6 reels; prod FPLC |
|
1924 |
Tomorrow's Love [Paul Bern] b&w; 6 reels; prod FPLC |
|
1925 |
The Dressmaker From Paris [Paul Bern] b&w; 8 reels; prod FPLC |
|
1925 |
Are Parents People? [Malcolm St. Clair] b&w; 7 reels; prod FPLC |
|
1925 |
Grounds for Divorce [Paul Bern] b&w; 6 reels; prod FPLC |
|
1925 |
Wild Horse Mesa [George B. Seitz] b&w; 8 reels; prod FPLC |
|
1925 |
Flower of Night [Paul Bern] b&w; 7 reels; prod FPLC |
|
1925 |
A Woman of the World [Malcolm St. Clair] b&w; 7 reels; prod FPLC |
|
1926 |
The Crown of Lies [Dimitri Buchowetzki] b&w; 5 reels; prod FPLC |
|
1926 |
Good and Naughty [Malcolm St. Clair] b&w; 6 reels; prod FPLC |
|
1926 |
Hotel Imperial [Mauritz Stiller] b&w; 8 reels; prod delayed midway for a couple of months due to the death of Rudolph Valentino; prod FPLC |
|
1926 |
Old Ironsides/Sons of the Sea [James Cruze] b&w (2 seq shot in Magnascope); uncred co-addph; ph: Alfred Gilks; silent (12 reels) & sound (1928; 8 reels) versions; prod Paramount Famous-Lasky Corporation (PFLC) |
|
1927 |
Barbed Wire [Rowland V. Lee (replaced Mauritz Stiller, who started the film)] b&w; 7 reels; prod PFLC |
|
1927 |
Underworld/Paying the Penalty [Josef von Sternberg (replaced Arthur Rosson)] b&w; 8 reels; prod PFLC |
|
1927 |
We're All Gamblers [James Cruze] b&w; 7 reels; prod PFLC |
|
1927 |
The Woman On Trial [Mauritz Stiller] b&w; 6 reels; prod PFLC |
|
1927 |
The Street of Sin/King of Soho [Mauritz Stiller (started film), Lothar Mendes (replaced M. Stiller) & Ludwig Berger (finished film)] b&w; 7 reels; cph Harry Fischbeck & Victor Milner; prod PFLC |
|
1927 |
The City Gone Wild [James Cruze] b&w; 6 reels; prod PFLC |
|
1927 |
The Last Command/The General [Josef von Sternberg] b&w; 9 reels; prod PFLC |
|
1928 |
The Patriot [Ernst Lubitsch] b&w; 12 reels; silent & sound version; prod PFLC |
|
1932 |
Blonde Venus [Josef von Sternberg] b&w; uncred addph (ext): Paul Ivano |
|
1932 |
The Half Naked Truth [Gregory La Cava] b&w |
|
1932 |
Christopher Strong [Dorothy Arzner] b&w; sfx: Vernon Walker; transitions: Slavko Vorkapich |
|
1933 |
Gabriel Over the White House [Gregory La Cava] b&w |
|
1933 |
Melody Cruise [Mark Sandrich] b&w; sfx: Vernon Walker, Linwood Dunn, Cecil Love (assoc) & Clifford Stine (assoc) |
|
1933 |
Morning Glory [Lowell Sherman] b&w; addph: Henry Gerrard |
|
1933 |
So This Is Harris! [Mark Sandrich] b&w; short/28m |
|
1933 |
The Bowery [Raoul Walsh] b&w; uncred cam; ph: Barney McGill |
|
1933 |
Alice in Wonderland [Norman Z. McLeod] b&w; anim + live action; cph: Henry Sharp; tech efx: Gordon Jennings & Farciot Edouart |
|
1933 |
The Scarlet Empress [Josef von Sternberg] b&w |
|
1934 |
Grand Canary [Irving Cummings] b&w |
|
1934 |
She Was a Lady [Hamilton MacFadden] b&w |
|
1934 |
Hell in the Heavens [John G. Blystone] b&w |
|
1934 |
The Lottery Lover [Wilhelm (William) Thiele] b&w |
|
1935 |
Under the Pampas Moon [James Tinling] b&w; uncred backgrounds ph; ph: Chester A. Lyons |
|
1935 |
Ginger [Lewis Seiler] b&w |
|
1935 |
Thunder in the Night [George Archainbaud] b&w; 67m |
|
1935 |
Bad Boy [John G. Blystone] b&w; 56m |
|
1935 |
Show Them No Mercy!/Tainted Money [George Marshall] b&w |
|
1935 |
The Prisoner of Shark Island [John Ford] b&w |
|
1936 |
Little Miss Nobody [John G. Blystone] b&w; 65m |
|
1936 |
Half Angel [Sidney Lanfield] b&w; 65m |
|
1936 |
Dimples [William A. Seiter] b&w |
|
1936 |
Can This Be Dixie? [George Marshall] b&w; 68m; cph: Ernest Palmer |
|
1936 |
Lloyd's of London [Henry King] b&w |
|
1937 |
The Prisoner of Zenda [John Cromwell; (uncred) George Cukor (add scenes) & W.S. Van Dyke (fencing seq)] b&w; uncred cph; ph: James Wong Howe; sfx: Jack Cosgrove, John M. Nickolaus & Harry Redmond Jr. |
|
1937 |
The Hurricane [John Ford & (assoc) Stuart Heisler] b&w; South Seas ph (Winter 1936): Archie Stout & Paul Eagler; spec pfx: Ray Binger |
|
1937 |
The Adventures of Marco Polo [Archie Mayo (replaced John Cromwell after a few days); (uncred action seq) John Ford] b&w (tinted & toned); 2uc (+ co-2ud); ph: Rudolph Maté & Archie Stout |
|
1937 |
Swiss Miss [John G. Blystone; (uncred) Hal Roach (fill-in) & S.S. Van Keuren (add scenes in April 1938)] b&w; uncred 2uc (+ some 1st unit ph); ph: Norbert Brodine & Art Lloyd; pfx: Roy Seawright |
|
1938 |
Kidnapped [Alfred L. Werker (replaced Otto Preminger in 2nd week of filming)] b&w; uncred cph (?); ph: Gregg Toland |
#1: [Center] with dir John Ford [seated] - "Stagecoach"
#2: [Left] with dir John Ford
|
1938 |
Stagecoach [John Ford] b&w; spec pfx: Ray Binger |
|
1939 |
Young Mr. Lincoln [John Ford] b&w; uncred cph: Arthur Miller |
|
1939 |
The Rains Came [Clarence Brown] b&w; uncred cph (started film, but fell ill; replaced by A. Miller); ph: Arthur Miller |
|
1939 |
Second Fiddle [Sidney Lanfield (replaced William A. Seiter)] b&w; uncred ph add scenes; ph: Leon Shamroy |
|
1939 |
Winter Carnival [Charles F. Reisner] b&w; uncred ph ice carnival seq; ph: Merritt Gerstad |
|
1939 |
Drums Along the Mohawk [John Ford] c; cph: Ray Rennahan |
|
1939 |
Swanee River/The Life of Stephen Foster [Sidney Lanfield] c |
|
1940 |
Our Town [Sam Wood] b&w; spec pfx: Jack Cosgrove |
|
1940 |
The Howards of Virginia/The Tree of Liberty [Frank Lloyd] b&w; montages: Slavko Vorkapich |
|
1940 |
Down Argentine Way [Irving Cummings] c; uncred 2uc; ph: Leon Shamroy & Ray Rennahan |
|
1940 |
Virginia [Edward H. Griffith] c; cph: William V. Skall; process ph: Farciot Edouart |
|
1940 |
The Reluctant Dragon/A Day at Disneys/Behind the Scenes at Walt Disney Studio/A Day at the Studio (20m excerpt) [Alfred L. Werker (live action)] b&w-c; anim + live action; b&w live action ph; Technicolor live action ph: Winton C. Hoch |
|
1940 |
One Night in Lisbon [Edward H. Griffith] b&w |
|
1941 |
Dive Bomber [Michael Curtiz] c; cph: Winton C. Hoch; aph: Elmer Dyer; sfx ph: Byron Haskin & Rex Wimpy |
|
1941 |
The Tanks Are Coming [B. Reeves Eason] c; short/20m |
|
1941 |
They Died with Their Boots On [Raoul Walsh] b&w |
|
1941 |
Juke Girl [Curtis Bernhardt] b&w |
|
1942 |
Desperate Journey [Raoul Walsh] b&w; sfx: Edwin DuPar, Byron Haskin & Nathan Levinson |
|
1942 |
The Desert Song [Robert Florey] c; sfx: Lawrence Butler & Edwin DuPar; filmed June-August, released December 1943 (release was delayed because of wartime restrictions) |
|
1942 |
Mission to Moscow [- The Former U.S. Ambassador Joseph E. Davies' Mission to Moscow] [Michael Curtiz] b&w; sfx: Roy Davidson & H.F. Koenekamp; montages: Don Siegel & James Leicester |
|
1943 |
Ozzie Nelson and His Orchestra #2 [Jean Negulesco] b&w; mus short/9m |
|
1943 |
This Is the Army [Michael Curtiz] c; cph: Sol Polito; spec pfx: Jack Cosgrove; montages: James Leicester & Don Siegel |
|
1943 |
One More Tomorrow [Peter Godfrey (replaced Irving Rapper)] b&w; filmed April-June & October-November; released in 1946 |
|
1943 |
[Edna Ferber's] Saratoga Trunk [Sam Wood] b&w; uncred fill-in ph (while E. Haller was ill); ph: Ernest Haller; filmed February-June; released in 1946 |
|
1943 |
In Our Time [Vincent Sherman] b&w; uncred cph; ph: Carl Guthrie; sfx: Robert Burks; montages: James Leicester |
|
1943 |
Destination Tokyo [Delmer Daves] b&w; sfx: Willard Van Enger & Lawrence Butler (dir); filmed June-September |
|
1944 |
The Very Thought of You [Delmer Daves] b&w |
|
1944 |
Hollywood Canteen [Delmer Daves] b&w |
|
1944 |
San Antonio [David Butler; (uncred) Robert Florey & Raoul Walsh] c; uncred cph: William V. Skall; sfx: Willard Van Enger |
|
1945 |
Shadow of a Woman [Joseph Santley] b&w; sfx: Edwin DuPar & Harry Barndollar |
|
1945 |
Night and Day [Michael Curtiz] c; uncred cph; ph: Peverell Marley (replaced B. Glennon after 2 weeks) & William V. Skall |
|
1946 |
The Red House/No Trespassing [Delmer Daves] b&w |
|
1946 |
Mr. District Attorney/District Attorney [Robert B. Sinclair] b&w |
|
1946 |
Copacabana [Alfred E. Green] b&w; spec pfx: John P. Fulton |
|
1947 |
Ruthless [Edgar G. Ulmer] b&w |
|
1948 |
The Adventures of Ichabod and Mr. Toad [Jack Kinney, James Algar & Clyde Geronimi] c; anim (+ live action)/68m; live action ph; live action seq cut from film |
|
1949 |
Red Light [Roy Del Ruth] b&w; 2uc: James Van Trees |
|
1949 |
Wagon Master [John Ford] b&w; 2uc: Archie Stout |
|
1950 |
Rio Grande [John Ford] b&w; 2uc: Archie Stout |
|
1950 |
Operation Pacific [George Waggner] b&w; sfx: H.F. Koenekamp & William McGann (dir) |
|
1951 |
The Sea Hornet [Joseph Kane] b&w; spph: Ellis F. Thackery |
|
1951 |
The Big Trees [Felix Feist] c; sfx: H.F. Koenekamp |
|
1951 |
About Face [Roy Del Ruth] c |
|
1951 |
Mara Maru [Gordon Douglas] b&w; was scheduled as ph or uncred cph (?); ph: Robert Burks |
|
1951 |
The Man Behind the Gun [Felix Feist] c |
|
1952 |
Thunder Over the Plains [André De Toth] c |
|
1952 |
Crime Wave/The City Is Dark [André De Toth] b&w |
|
1953 |
House of Wax [André De Toth] c; cph: J. Peverell Marley; uncred fill-in ph (when B. Glennon fell ill): Robert Burks; originally in Natural Vision (3-D) |
|
1953 |
Riding Shotgun [André De Toth] c |
|
1953 |
The Moonlighter [Roy Rowland] b&w; originally in Natural Vision (3-D) |
|
1953 |
The Mad Magician [John Brahm] b&w; sfx: Dave Koehler; originally in Columbia 3-D |
[Cap] with dir John Ford [hat] and actors Constance Towers and Jeffrey Hunter - "Sergeant Rutledge"
|
1959 |
Sergeant Rutledge [John Ford] c |
|
1962 |
Lad: A Dog [Aram Avakian & Leslie H. Martinson] c |
|
1963 |
The Man from Galveston [William Conrad] b&w; 57m; originally the unaired pilot for the tv-series 'Temple Houston' (1963-64) |
| TELEVISION | |
|---|---|
|
1955 |
Jiminy Cricket Presents Bongo [Hamilton Luske] ep #24 (color) of 'Disneyland'; 2nd season, 1955-56; actually first half of 'Fun and Fancy Free' (1947); ph live action seq (dir by William Morgan); or ph Charles P. Boyle |
|
1955 |
Disneyland: Frontierland - Davy Crockett [ep #4 'Davy Crockett's Keelboat Race' & #5 'Davy Crockett and the River Pirates' dir by Norman Foster] 5-part seg of 'Disneyland: Frontierland'-series, 1954-55/c; 2nd season, 1955; ep #4 + #5 also released theatrically (81m) in 1956 |
|
1955 |
The Goofy Success Story [Jack Kinney & Wolfgang Reitherman] anim + live action; ep #33 (b&w) of 'Disneyland'; 2nd season, 1955-56 |
|
1957 |
The Arsonist [Norman Foster] pilot (b&w) for unsold series 'Chicago 2-1-2' |
|
1957 |
M Squad [ep #18 'The Long Ride' dir by David Lowell Rich] 117-part police series/b&w, 1957-60 (NBC-tv); 1st season, 1957-58 |
|
1958 |
State Trooper [ep #50 'The Doll Who Couldn't Sleep' dir by Stan Shpetner & #58 'Stay Lost, Little Girl' dir by John English] 106-part police series/b&w, 1956-59 (syndicated only); 2nd season, 1957-58 |
|
1958 |
The Restless Gun [ep #38 'The Peddler' dir by Edward Ludwig] pilot (ep 'Schlitz Playhouse of Stars') + 77-part western series/b&w, 1957-59 (NBC-tv); 1st season, 1957-58 |
|
1958 |
M Squad [ep #60 'The Take Over' dir by Don Medford & #64 'Ghost Town' dir by John Brahm] 2nd season, 1958-59; see 1957 |
|
1958 |
Cimarron City [ep #13 'The Bitter Lesson' dir by John Meredyth Lucas] 26-part western series/b&w, 1958-59 (NBC-tv) |
|
1959 |
Markham [ep #1 'A Princely Sum' dir by Richard Bartlett] 59-part detective series/b&w, 1959-60 (CBS-tv) |
|
1959 |
Bonanza/Ponderosa [pilot 'A Rose for Lotta' dir by Edward Ludwig] 431-part western series, 1959-73 (NBC-tv); 1st season, 1959-60 |
|
1959 |
The Betty Hutton Show [pilot 'Goldie Crosses the Tracks' dir by Edward Ludwig] 30-part sitcom series/b&w, 1959-60 (CBS-tv); other ph: Charles Van Enger |
|
1959 |
Laramie [ep #7 'The Iron Captain' dir by Robert Sinclair] 124-part western series/b&w, 1959-63 (NBC-tv); 1st season, 1959-60 |
|
1959 |
Bourbon Street Beat [ep #15 'Inside Man' dir by Leslie H. Martinson, #34 'Green Hell' dir by Charles Rondeau, #36 'Wagon Show' dir by Robert B. Sinclair, #38 'Reunion' dir by William Hole Jr. (WHJ) & #39 'Teresa' dir by WHJ] 39-part detective series/b&w, 1959-60 (ABC-tv) |
|
1959 |
The DuPont Show with June Allyson/The June Allyson Show [ep #12 'The Crossing' dir by André De Toth] 57-part dramatic anthology series/b&w, 1959-61 (CBS-tv); 1st season, 1959-60 |
|
1959 |
M Squad [ep #98 'A Debt of Honor' dir by Herman Hoffman (HH) & Francis D. Lyon & #101 'Needle in a Haystack' dir by HH] 3rd season, 1959-60; see 1957 |
|
1959 |
Hawaiian Eye [ep #19 'Hong Kong Passage' dir by Charles Haas] 134-part detective series/b&w, 1959-63 (ABC-tv); 1st season, 1959-60 |
|
1960 |
Bronco [ep #36 'Legacy of Twisted Creek' dir by André De Toth & #38 'La Rubia' dir by Reginald Le Borg] 68-part western series/b&w, 1958-62 (ABC-tv); 2nd season, 1959-60 |
|
1960 |
Sugarfoot [ep #57 'Blue Bonnet Stray' dir by Leslie Goodwins] 69-part western series/b&w, 1957-61 (ABC-tv); 3rd season, 1959-60 |
|
1960 |
Maverick [ep #81 'Hadley's Hunters' dir by Leslie H. Martinson] 124-part western series/b&w, 1957-62 (ABC-tv); 4th season, 1960-61 |
|
1960 |
Coronado 9 [ep #16 'Wrong Odds' dir by William Witney] 39-part private eye series/b&w, 1960-61 (syndicated); other ph: Bud Thackery, Benjamin Kline & Ray Rennahan |
|
1960 |
77 Sunset Strip [ep #45 'The Texas Doll' dir by André De Toth & #62 'Legend of Crystal Dart' dir by Montgomery Pittman] pilot (1957) + 206-part detective series/b&w, 1958-64 (ABC-tv); 2nd season, 1959-60 |
|
1960 |
Sugarfoot [ep #61 'Shadow Catcher' dir by Leslie Goodwins] 4th season, 1960-61; see above |
|
1960 |
Lawman [35 ep dir by various] 156-part western series/b&w, 1958-62 (ABC-tv); 3rd season, 1960-61 |
|
1960 |
77 Sunset Strip [ep #76 'The Negotiable Blonde' dir by Mark Sandrich Jr., #85 'The Dresden Doll' dir by William J. Hole Jr. & #94 'Face in the Window' dir by Robert Douglas] 3rd season, 1960-61; see 1960 |
|
1961 |
Lawman [29 ep dir by various] 4th season, 1961-62; see 1960 |
|
1961 |
Cheyenne [ep #82 'Winchester Quarantine' dir by Paul Landres & #95 'A Man Called Ragan' dir by Richard C. Sarafian] 108-part western series/b&w, 1955-62 (ABC-tv); 6th season, 1961-62; ep #95 was also the pilot for the series 'The Dakotas' |
|
1961 |
Hawaiian Eye [ep #82 'Two for the Money' dir by Robert Sparr & #103 'Rx Cricket' dir by Charles Rondeau] 3rd season, 1961-62; see 1959 |
|
1962 |
SurfSide 6 [ep #68 'Squeeze Play' dir by Robert Sparr & #74 'Midnight for Prince Charming' dir by George Waggner] 74-part detective series/b&w, 1960-62 (ABC-tv); 2nd season, 1961-62 |
|
1962 |
Hawaiian Eye [ep #113 'There'll Be Some Changes Made' dir by George Waggner] 4th season, 1962-63; see 1959 |
|
1962 |
Cheyenne [ep #100 'The Quick and the Deadly' dir by Paul Landres (PL), #101 'Indian Gold' dir by PL, #102 'Dark Decision' dir by Robert Sparr (RS), #103 'Pocketful of Stars' dir by RS & #104 'The Vanishing Breed' dir by RS] 7th season, 1962; see 1961 |
|
1962 |
77 Sunset Strip [ep #152 'Leap, My Lovely' dir by Irving J. Moore, #161 'The Odds on Odette' dir by Charles Rondeau & #186 'Never to Have Loved' dir by William Conrad] 5th season, 1962-63; see 1960 |
|
1962 |
The Dakotas [13 ep dir by various] 19-part western series/b&w, 1963 (ABC-tv); other ph: Harold E. Stine; see 'Cheyenne' (1961) |
|
1962 |
General Electric True/GE True/True [ep #30 'Heydrich Part 1', #31 'Heydrich Part 2' & #32 'Commando' dir by William Conrad] 33-part dramatic anthology series/b&w, 1962-63 (CBS-tv) |
|
1963 |
77 Sunset Strip [20 ep dir by various] 6th season, 1963-64 (20 ep); see 1960 |
| FILMS AS DIRECTOR | |
|---|---|
|
1928 |
Perfect Crime [ph: James Wong Howe] |
[Right] with actors Jack Pickford & Olive Borden - "Gang War"
|
1928 |
Gang War/All Square [ph: Virgil Miller] |
|
1928 |
The Air Legion [ph: Paul Perry] |
|
1929 |
Syncopation/Stepping High [ph: Dal Clawson, Frank Landi & George Webber] |
|
1929 |
Joy Ride [?] ph: ? |
|
1929 |
Girl of the Port [ph: Leo Tover] |
|
1930 |
Around the Corner [ph: Joseph Walker] 68m |
|
1930 |
Paradise Island [ph: Max Dupont] 68m |
|
1931 |
In Line of Duty [ph: Archie Stout] 64m |
|
1931 |
South of Santa Fe [+ ed] ph: Archie Stout; 60m |
| MISCELLANEOUS | |
|---|---|
|
1912 |
A Hospital Hoax [?; short] actor (as Herbert Glennon); ph: ? |
|
1914 |
The Patchwork Girl of Oz/L. Frank Baum's Whimsical Fairy Tale The Patchwork Girl of Oz/The Ragged Girl of Oz/The Raggedy Girl [J. Farrell MacDonald] actor (as Herbert Glennon); ph: Jim Crosby |
|
1918 |
The Family Skeleton [Victor Schertzinger] co-scrpl; ph: Chester Lyons |
|
1920 |
The Man From Kangaroo [Wilfred Lucas] asst dir; ph: Robert Doerrer |
|
1920 |
The Shadow of Lightning Ridge [Wilfred Lucas] asst dir; ph: Robert Doerrer |
|
1920 |
The Jackeroo of Coolabong/The Fighting Breed [Wilfred Lucas] asst dir; (also ph ?) |
|
1930 |
Second Wife [Russell Mack] co-scrpl; ph: William Marshall |
